Component 1: Stylistic Composition
§i) Chorale Harmonisation
Study and preparation
In order to assimilate the harmonic style used by J.S. Bach, we recommend that you study the following
chorales:
•
•
•
•
•
•
Eisenach (R.44, R.310)
Ein Feste Burg (R.20, R.250, R.273)
Nun Danket (R.32, R.330)
Liebster Jesu (R.131)
Jesu Meine Freude (R.96, R.138, R.263, R.283, R.324, R.356)
Passion Chorale (R.21, R.74, R.80, R.98, R.270, R.286, R.345, R.367)
These chorales can be found in most hymnbooks (e.g. New English Hymnal ). Turn to the index, which
will list the names of tunes in alphabetical order.
See also 371 Harmonised Chorales ed. Riemenschneider (Schirmer 1986). The ‘R’ numbers in this
chapter make reference to this book. A large number of chorales are available via www.jsbchorales.net.
Play or listen to recordings of these chorales, noting the movement of parts, cadences and modulations
– especially the transient modulations which occur within the phrases. Bach had a small choir, and his
harmonic and rhythmic methods maximised the use of the voices. Preparation is important if you want
to understand the style required.
Go to practice exercises
Hints on harmonising chorales
Cadences
Bach uses iib7 frequently in the context of perfect and imperfect cadences. It is usually prepared by Ib
with the bass doubled. Notice that the Soprano and Bass move in contrary motion.
* The 7th in iib is suspended from Ib, and
resolves ornamentally to E (x) via the
quaver D (+).
x The E leading note falls to the 5th of I,
giving full 4-part harmony.
** The dominant 7th is used as a passing
note to maintain the quaver movement.
1
Example 2 shows the same progression
forming an imperfect cadence.
Example 3 shows the same progression, but
in the second chord the bass (3rd of II7) is
raised by a semitone, for colour, forming a
secondary 7th chord (V of V). The implied
modulation to C is moving from strong to
weak accents, and its effect is short-lived.
Example 4 shows the use of viib – I as
another form of perfect cadence.
In minor keys Bach was fond of the
progression shown in Example 5, forming
an imperfect cadence. The melodic minor
scale pattern (bracketed) formed by these
bass notes produces colour, especially the C
natural.
* shows a rhythmic figure using E as an
upper auxiliary note.
2
In Example 6, both cadences end with the same melodic pattern. The first cadence is interrupted (note
that after chord V, the 3rd of chord vi is doubled), and the second cadence is perfect.
Repeated notes
If the opening (or any subsequent phrase) begins with repeated notes, it can be harmonised as shown
in examples 7 – 9.
Example 7 shows the use of a 'rolling'
bass in descending motion, while the
melody remains on the same pitch.
Example 8 shows a 'rolling' bass in
descending motion with the melody
starting on Ib.
The parallel thirds between the tenor
and bass should not be overdone as
they can produce a rather 'thick'
texture.
Example 9 shows chord I in three parts
with the bass leaping up an octave (a
strong move) to chord I in 4-part
harmony – another strong effect.
Of these examples, Example 9 is the
preferable solution.
All three examples begin on a weak beat (i.e. an anacrusis), with the same chord moving from weak to
strong accents in Examples 8 and 9. See also Example 12.
3
An anacrusis beginning as follows requires a different approach:
In Examples 10 and 11 we begin on the dominant chord, and the 7th (*) is used as a passing note. V7
moves to I on the strong beat, establishing the key.
Repeated chords
It is unusual to repeat chords exactly in chorales, except in the examples above.
Example 12: When moving from strong to weak beats, repeated chords may be used.
Example 13: The last chord of a phrase may be repeated to form the first chord of the next phrase.
4
Modulation
Two forms of modulation occur in chorales:
• Principal modulations, which are within the range of related keys and occur at cadences;
• Transient modulations, again within the range of related keys but occurring within the phrase of
the chorale.
Here is a complete chorale with some suggestions on working. Study this example in relation to the
previous pages, and then try to complete the harmony.
#4
& 4 œ œ
œ
œ
?# 4 œ œ
4 œ
œ
œ
œœ n œ œ
œ
œ
œ
œ œ
œ
œ œ œ
œ
U
œ
œ
œ
œ
Octave leap I in
Transient modulation Ib in G V7
I in 3 parts 4 parts
to C major
3rd doubled
#
& œ
U
œ œ œ
?# œ œ
œ
œ
viib
#
& œ
?# œ
Modulation to
relative minor
œ
U
œ
œ
#œ
œ
œ
A
C major
vib in G
Vb7
I
= ib in E minor E minor
œ
nœ
œœ n œ œœ
œœ
A minor with
Tierce de Picardie
in I to give V7 in D
n œœ
œ
U
#œ œ œ
#œ
œ
C
Dim 7th
in A minor
œ œ œ
œ
œ
Ib
I
Vb
in C
V7
in D
œ
œ
œ
œ œ œ
œ
œ
i in A minor
= ii in G
Ib
œ
œ œ œ
* e A is an upward resloving
appoggiatura
I
œ
œ
œ #œ œ
Modulation to the dominant
œ n œ œ # œ # œ # œœ
I
œœ œ œ
*
œ
œ œ
œ œ œ
œ . œ œj
œ œ
œ œ œ
œ œ œ
I
Ib in C V
= IVb in G
Ib
œ
œ
œ
V7
B
A
The Tierce de Picardie is the major third, introduced into cadential (tonic) chords in a minor key.
B
This could be a diminished 7th in E minor.
C
False relations between phrases are acceptable.
5
U
œ
Return to tonic
œœ
œ
Vb7
in G
œ
I
Principal modulation
If the
•
•
•
chorale is in the key of G major, the related keys are:
the tonic (G major) and its relative minor (E minor);
the dominant (D major) and its relative minor (B minor);
the subdominant (C major) and its relative minor (A minor).
U̇
Some modulations will be 'expressed' – i.e. the accidentals of the new key will occur in the melody line,
as in Example 14.
Example 14
#
& 44 œ œ
U
˙.
#
& 44 œ œ
U
˙.
iib7 V7
in G
Example 15
iib7 V7
in G
I
I
œ
œ œ #œ
œ œ
œ
œ œ œ œ œ
Ib
iib
V7
in D
I
U
˙
iib V7
I
in E minor
Example 15 shows an 'implied' modulation to E minor. The melodic shape clearly indicates this; it cannot
be treated as an interrupted cadence in G major as the F #s (leading note of G major) fall.
Transient modulation
These are more difficult to spot. They occur within phrases and may move from strong to weak beats or
from weak to strong. They are short – usually no more than 2 chords, normally dominant or dominant
7th to tonic, and often occur in an inverted form.
e.g.
Vc7 – Ib or Ia
Vb7 – Ia
Vd7 – Ib
Sometimes these modulations are totally 'implied'. Here are some examples – remember the tonic key is
still G major (see related keys above).
Example 16
# 4œ
& 4œ
? # 44 œœ
œœ œ œœ n œ œœ œ œ
œ
œ
#œ
œ
œ
œ
#œ
Vb7
i
A minor
œ
œ nœ
Vb
i
E minor
œœ
œ
œ œ
etc.
ivb
The two modulations in Example 16 are to A minor and E minor. The G natural and D natural passing
notes add colour but also lead to E minor and the key to follow.
6
Example 17
#
& 43 # œœ
œœ
œœ
œœ œ N œœ
œ œœ
œœ
œ # œœ œ œœ
œ
? # 3 # œœ œ
4
V7
ib
B minor
œ
œ
# œœ
V7
Ib
D major
œ
œ
Vb7
i
A minor
U
˙˙ ..
#˙.
˙.
iib7
V
E minor
Example 17 shows 'transient' modulations rather overworked, ending in an imperfect cadence in E minor.
Use of the diminished 7th
Note that the diminished 7th moves to V7 or I. Whilst it may occur within a regular phrase (often
replacing V7), it can also make a dramatic start to the final phrase.
Example 18
# 3
& 4 œœ
œœ
b œœ
œ
œ
œ
œ
? # 43 œ
œ
*
U
˙˙ ..
œœ œ œœ œ œœ
œ
#œ
œ
œ
œ œ
œ
˙.
˙.
Example 18 shows the diminished 7th (*) used for colour in the tonic key.
Example 19
# 4 œ
& 4 nœ
?# 4 œ
4 #œ
*
œ
œ
œ #œ œ
œ
œ
œœ œ œœ
œ
#œ
œ
œ
**
œ œ
œ
U
˙˙ ..
˙.
˙.
Example 19 shows the diminished 7th (*) used as the first chord of the last phrase in A minor. Notice
IIb7 with the #3rd at **.
7
General points
1. The bass line
The 'rolling' bass, as shown in Examples 7, 8 and 9, is a characteristic of chorales, and should feature in
your workings but not be overdone.
When approaching cadences the bass line is 'directional' – i.e. it moves quite often by step before
reaching the cadence. See Examples 1, 2, 3, 6 and 19.
2. Unessential notes
Unessential notes are the 'core' of movement in chorales, and Bach makes full use of them all, including
ornamentally resolved suspensions as in the progression iib7 – V7. The dominant 7th used as a passing
note is a strong feature. See Example 1.
Try to spread the use of unessential notes across the parts; remember that too many such notes will 'thicken'
the texture, and it will lack clarity. Again, study the chorales mentioned at the beginning of this chapter.
3. Crossing of parts
Crossing of parts is allowed, but should be restricted to the alto and tenor parts in writing for SATB.
When crossing parts, the purpose must be to preserve the 'line' or 'direction' of a voice part. The voices
should cross completely, rather than for just one note. The actual point of crossing should form a concord:
#
& 44 œ
Example 20
?# 4
4
œ
œ œ œ
œ
œ œ œ
œ
œ œ œ
œ
œ
œ
œ
etc.
This would of course be clearer if written in vocal or open score, where each part would have its own
stave.
8
Practice exercises
1.
e.g.
Harmonise the following phrase taken from a chorale melody, in four different ways.
(One possible answer is given.)
4
& b 4 # œœ
œœ
bœ
? 4
b4 œ
œ
œ
n œœ
œœ œ œœ
*
**
œ
œ
œ œ œ
***
˙œ
#œ
œ
œ
˙
Dim 7th ib in G minor i
iv7
V
IVb in D minor Transient modulation
F major to D minor
a
b
4
&b 4 œ
œ
œ
œ
œ
˙
œ
? b 44
œ
œ
œ
œ œ #œ
œ
4
&b 4 œ
œ
? b 44
? 4
b4
4
& b 4 œœ
d
œ
G minor
4
&b 4 œ
c
ii
œ
B b major
? 4 œœ œ
b4
œ
Vc7
in C
nœ
œ
˙
œ nœ
œ
iv
œ
œ
**
iib7 in F major =
ivb7 in D minor
***
i in D minor =
ii in C major
œ
u
A minor
V
˙
U
œ
nœ œ
œ œ œ
œ
u
œ
œ
œ
œ
˙
#œ
œ
œ
œ œ
œ #œ œ
9
vi in F major =
i in D minor
U
œ
imperfect in F major
*
I
œ
G minor
*
œ
œ
u
*
U
œ
œ
E minor
nœ
U
œœ
U
œ
œ
u
imperfect in D minor
The whole phrase
in D minor, with
diminished 7ths
at *.
2.
Complete this chorale in the style of J.S. Bach, as indicated. Write for SATB in short score.
4
& 2 ˙˙
˙˙
˙
? 42 ˙
&˙
˙
˙
˙
˙
˙
˙
# ˙˙
˙
˙
˙
transient modulation
to G major
˙
˙
œ œ
A
˙
c
˙
˙˙
˙
˙
˙
˙
n œœ
œœ
&
˙
?˙
˙
˙
˙
u
˙
˙
œ
˙
˙
#˙
œ
˙
˙˙
u
˙˙
˙
'Vom Himmel hoch'
˙
U
˙
?
d
U̇
œ
œ
e
˙
˙
U
˙
B
In the examination, you could be asked to complete either the section bracketed A or the section
bracketed B.
i.
Look at the whole chorale, especially the harmony of the first phrase.
ii.
Work out the related keys:
• C major / A minor
•
G major / E minor
•
F major / D minor
iii.
Look carefully at the crotchets: are they accented or unaccented passing notes?
iv.
Consider the possibilities of the cadences:
• Cadence c could be perfect in C or imperfect in A minor
• Cadence d could be imperfect in C or perfect in G
• Cadence e is the final cadence, and must therefore be perfect in C
v.
Now look for transient modulations in each phrase.
vi.
Can the last phrase begin on a diminished 7th in G?
vii. In phrase 3 the C # in the bass indicates a move to D minor. Is this followed by a move towards
C major? If so, the cadence ending the phrase would be in G major!
viii. In the last phrase there is a transient modulation to D minor, which leads naturally to the final
cadence in C major. The penultimate note in this cadence could benefit from two crotchet chords
i.e. iib – V7 or iib7 – V7.
ix.
The first cadence in bar 2 is a perfect cadence in C major. In order to avoid hearing a further
cadence in C it would be better to end the second phrase with an imperfect cadence in the
relative minor.
10
3.
Study this chorale carefully, noting the similarity of the first and last cadences, using iib7 and V7:
can this occur again in other cadences? Bach's solutions to these phrases are given on the next
page – look at these after you have worked out the harmony.
4
& b 2 ˙˙
˙
? 4 ˙
b 2
‘Jesu Meine Freude’
˙˙
˙œ # œ ˙˙
œ œ ˙
˙
œ œ
˙
˙
w
&b œ œ ˙
w˙ # ˙
˙
˙
ww
˙.
œ W
.. ˙
˙
˙
?b ˙
œ w
˙
˙˙
˙˙
œ
n˙
˙
..
˙
n˙
˙
˙
B
œ nœ w
w
?b
& b ˙˙
œ œœ
A
˙
w
˙
?b œ œ œ œ w
& b ˙.
˙
˙
œ œ n œœ œ ˙
œ ˙
˙
œ œ w
w
˙
œ œ ˙
# ww
˙
˙
˙œ œ n ˙˙
œ
œ
˙
œ
˙˙
w˙
˙
˙
˙
˙
11
#˙
œ
˙
œ
W
W
#W
W
˙
Bach's solutions
4 œ œ ˙˙
b
& 2 œ œ
˙
? 4 ˙
b 2
& b ˙˙
? ˙˙
b
4.
˙.
˙.
˙œ œ ˙˙ # ˙
˙
˙˙
n ˙˙
˙
œ
œ
˙
˙
˙˙
˙œ
˙œ
˙˙
˙˙
˙
˙˙
œ
œ
W
W
˙˙
œ
B
˙
˙
œ
U̇
œ œ
? ## 4
4
Use continuous
#
& 44 œ
b
œ W
œ W
œ˙ n œ
˙
˙
w˙
˙˙. ˙ œ ww
˙
˙
˙˙
#˙
˙
˙
˙
˙
˙˙
œ
˙
œ
œ œ ww
˙
ww
#w
w
Complete these chorale fragments for SATB, writing in short score.
## 4
& 4 œ œ œœ œ
a
A
?# 4 œ
4
œ
œ
œ
œ œ œ œ œ
#œ œ
U
œ
œ
œ œ̇ œ ˙
œ œœ
œ œ
˙
u
movement in the bass, except where notated.
œ
œœ œ œ
œ œ
œ
˙
U
˙
u̇
12
R.256
œ
R.152
### 4 œ
& 4
c
d
? # # # 44
#4
& 4 œœ œ
? # 44 œœ œœ
œ
œ
œ
#œ
œ
œ
œ
œœ
œ œ œ
œ. #œ
J
U̇
œ œ
œ #œ
n˙
U
œ œ
œ
œœ # œœ œ . œ œ
U
œœ œ œ œ ˙œ
œ ˙
œ œœ
œ
œ
œ œ
œ
œ
u
R.83
œ
œ
œ
x
x
U
˙
R.65
œ
œ œ œ œ
œ œ œ œ
œ œ
x
x = accented passing note
b
& b b 44 œ
e
? b b 44 œ
b
#### 4
&
4œ
f
œœ œœ œ
bœ
œ
œ
œ
bœ
œ nœ nœ
˙
œ œœ œ œœ œ œ
? # # # # 4 œœ œ œœ
4
U
œ œ œ
œ bœ
u
U̇
Œ œ
œ œ ˙
u
Œ #œ
x
œ
œ œ
œ
œ
œ bœ
nœ
œ œ
œœ œ œœ
n œœ
œ
œ.
U
˙.
R.108
œ
œ
U
œ
R.85
j
œ
x = accented passing note
13
* = diminished 7th chord in the following exercises.
g
& 44 œ
œ
œ
œ
? 4 # œœ
4
h
#
& 44 # œœ
œ
œ
j
œœ œ œ œ œ
bœ
*
œ œ œ
œ
œ #œ
?# 4 œ œ œ œ
4 œ
i
˙
& b 44 œ œ œ
œ
œ œ nœ
œ
œœ
R.21
œ
# œœ
U
˙.
R.340
œ # œœ
œ
*
U
˙
R.30
*
*
œ
? 4 œ œ œ.
b4
#œ
J
œ
b
& b b 44 b œœ b œ
œ
? b b 44 œ b œœ
b
œ
U
œ
œ œ
U
˙.
*
œ
U
œ œ
˙
œœ
nœ
*
nœ
*
œ
nœ œ
œ
œ
nœ
œ
bœ bœ
U̇
œœ
œ bœ
b œœ n œ
n˙
14
œ
œ
œ œ œ œ
œ œ bœ
nœ
U
˙
R.113
The following eight chorales (Exercises 5-12) will give you further practice. In each case, bracketed
sections marked A and B indicate the kinds and lengths of extracts which might be used in the
DipMusLCM examination.
5.
b4
& b 4 œœ
U
bb ˙
& # ˙ ..
A
? b
b
œ
œ
˙.
? b ˙.
b
u
b
&b ˙
œ
œœ n œ œ
œ œ œœ
? b b 44 œœ
œœ
n œœ # œ œœ
œœ
U
˙.
#˙.
œ
œ
'Auf meinen lieben Gott'
œ
œ
œ œ
œ
˙.
˙.
u
U
˙œ œ œ œœ
œ
u
B
œ
œ
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœ # œ œœ
œ
œ
œ
#œ
u
nœ œ
U
œ
œ
œ
œ œ œ nœ
œ œ #œ œ nœ nœ
œ
15
U
œ
u
œ
œ
œ
œ œ
œ œ œ œ
nœ #œ
bœ
˙
U
œ
u
6.
b 4
& b b 4 œœ
œ
œ
œœ
U
œœ˙
œœ œ œœ ˙
œœ
'Meinen Jesum lass ich nicht'
œœ
œ œ œ œ
œ œ œ œ
˙˙
œ
œ
? b 4 œ œ œ œ œ œ œ
œ
bb 4
u
U
bb ˙
& b ˙
A
b
&bb œ
œ
? b
bb
œ
œ
? b b n œœ œ
b
œ
œ
œœ
U
œ œœ˙
œ
U
n ˙˙
œœ œ œ œ
œ
œ
nœ œ
œ nœ
U
˙
œ œ œ ˙
œœ
œ œ
œœ
œ n œ œ n œ œœ œ ˙œ .
œ œ œ œ œ œ n œ œ œœ œ œ œ n œ
œ œ œ œ œ
œœ œœœœ œ
œ
œ
œœ b œœ
? b b ˙˙
b
u
b œ
&bb œ
œ
œœ œ œœ
B
œœ
œ bœ
œ bœ œ œ bœ œ
œœ
œœ b œ
œ œ
16
œ
œ
œ
œ œœœ
œ
œ
U
˙
œ
J
7.
'Liebster Immanuel, Herzog der Frommen'
# 3 ˙
& # 2˙
˙
˙
? ## 3 ˙
2˙
&
##
˙
#œ œ
˙
˙
&
˙˙
? ## ˙
˙
B
## ˙
& ˙
? ## ˙
˙˙
˙˙
˙˙
˙
#˙.
˙˙
˙
˙
˙˙
˙˙
˙
˙
ww
˙
˙
œ œ #˙.
œ ˙
œ œ
˙
17
˙˙
˙
˙
˙ œ
˙
˙.
˙
..
# ww ..
u
..
˙
˙
U
ww
# ˙˙
ww
u
U
ww ..
#w.
w.
u
U
˙˙
œ ˙˙
u
U
ww ..
˙
˙
# ˙˙
w˙
œ
œ œ ˙.
˙
ww
œ˙ œ
œ
œ ˙
˙
˙
˙
˙
˙˙
œ œ ˙
˙˙
˙
˙
n ˙˙
œ ˙
˙.
? # # ˙˙
##
˙
˙
œ˙ œ # œœ œœ # # ˙˙
A
˙˙
# ˙˙ . # ˙ œ ˙˙
8.
### 4 Œ
& 4
œœ
œœ œ œ
œ œ
œœ
œœ
? # # # 44 Œ
œ
œ
### ˙
& œ
U
œ œ ˙˙
œ
œ
œ
œ
œ
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&
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A
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n œ œ # œ # œ œœ n œœ œ
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J
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nœ œ
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'Herr, wie du willst'
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18
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œ œ nœ
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œ
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U
˙œ
U
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u
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u
9.
'Alle Menschen müssen sterben'
# 4
& # 4 œœ
? # # 4 œœ
4
&
##
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&
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u
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c*
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u̇
U
d*
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B
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c*
Complete melody line and bass part.
d*
Complete melody line, alto and tenor parts.
19
œ
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œ ˙
u
10.
bb 4
& b b 4 œœ
œœ
œœ
nœ
U
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bb 4
bb
& b b ˙œ
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u
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b
b
& b bb œ
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u
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d
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bœ
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U
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f
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c
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bb
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b
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u
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A
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bb
&bb
U
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'Nun ruhen alle Wälder'
bœ
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At c and e continue the melody, alto and tenor parts.
At d and f add alto, tenor and bass parts.
20
˙.
u
B
e
œ
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U
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11.
'O Haupt voll Blut und Wunden'
# 4
& # 4 œœ
œ
œ
? # # 4 œœ
4
œ
U
## .
& ˙˙ .
&
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..
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u
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B
U
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f
œ
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u
At c and e continue the melody, alto and tenor parts.
At d and f add alto, tenor and bass parts.
21
˙
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u
e
œ
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œ
#œ
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d
œ
##
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œ
J
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u
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&
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A
c
..
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U
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#œ
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U
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12.
4
& 2 ˙˙
˙˙
˙
?4 ˙
2
˙˙
& ˙œ œ ˙˙
˙
?˙
# ˙˙
˙˙
˙
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œ œ ˙
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b œœ œœ
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˙
˙˙
˙
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˙
d
&
?˙
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n œœ
U
˙˙
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˙œ œ ˙
˙
œ nœ ˙
u
˙
˙
˙
˙
u
At c continue the melody, alto and tenor parts.
At d continue the alto, tenor and bass parts.
22
œœ
˙˙
U
˙
˙
˙˙
˙
˙
u
'Vom Himmel hoch'
˙
œ
œ
˙
œ
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A
c
˙
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œ
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˙
#˙
œ
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U
˙